UQ Art Museum

current exhibitions

Baroque and Beyond
Saturday, 16 September, 2017 to Sunday, 25 February, 2018

Nigel Milsom
Judo House Part 6 (the white bird) 2014–2015
oil on linen
Collection of Art Gallery of New South Wales. Contemporary Collection Benefactors 2015, with the generous assistance of Alenka Tindale, Peter Braithwaite, Anon, Chrissie & Richard Banks, Susan Hipgrave & Edward Waring, Abbey & Andrew McKinnon
Reproduced courtesy of the artist and Yuill|Crowley, Sydney.

Almost four centuries after its creation, Gian Lorenzo Bernini's Ecstasy of Saint Teresa (1652) remains the supreme emblem of religious visionary experience and the Baroque sensibility in art. Understanding ecstasy to encompass states of exaltation beyond the sensuous suffering of Bernini's sculpture, Ecstasy: Baroque and Beyond brings together older depictions of ecstasy with more recent works focused on the transcendence of normal consciousness, including trances, moments of expanded awareness, and visionary insight.  From representations of saints and mystics, to dreamscapes and images of bacchanalian revels, this exhibition explores how Baroque style – characterised by exaggeration, high drama, extravagance, frenzy, and excess – continues to inform contemporary art.

Simon Palfrey and Mieke Bal
Saturday, 16 September, 2017 to Sunday, 25 February, 2018

Simon Palfrey 
Demons Land: a poem come true 2017 (still)
single-channel high-definition digital video
duration: 00:45:00

In coming months, the UQ Art Museum is pleased to present two film works, drawn from large-scale multimedia installations, that explore new possibilities in literary and art criticism. Creative, collaborative, and highly experimental, Simon Palfrey’s Demons Land: a poem come true (2016) and Mieke Bal’s Reasonable Doubt (2015) take up the traditional tasks of arts criticism and scholarship – to interpret and evaluate the aesthetic and intellectual objects of the past – while also reimagining the critic as artist. 

look at me looking at you
Saturday, 11 November, 2017 to Sunday, 18 February, 2018

Davida Allen | Robert Brain | Vicky Browne | Scott Chaseling | Karla Dickens | Julie Fragar | Will French | Helen Fuller | Dale Harding | Patsy Hely | Lorraine Jenyns | Jumaadi | Heidi Lefebvre | Vincent Namatjira | Claudia Nicholson | Ramesh Mario Nithiyendran | Jenny Orchard | Jungle Phillips | Lisa Reid | Marcelle Riley | Madonna Staunton | Kenji Uranishi | Justine Varga | Carla & Lisa Wherby | Terry Williams | William Yaxley | Paul Yore | Alan Young

The National Self-Portrait Prize is a $50,000 invitation only, biennial prize. Previous winners include Ben Quilty (2007), Julie Rrap (2009), Domenico de Clario (2011), Nell (2013) and Fiona McMonagle (2015).

Look at me looking at you posits the roles that the spectator plays in the construction of an image, the exchange between the viewer and maker that drives an image or object. With the self as subject, this can be reduced to an intimate conversation that might take place in the gallery space itself or at some future time, as if someone has passed on a message to be later revealed and savoured.

The title is from the song (I’m) Stranded by The Saints. Recorded in Brisbane in 1976, (I’m) Stranded quickly became an instant Australian cult hit and is now a classic. The Saints orbited around punk rock rather than being fully fledged members. Their intelligent, bombastic and pioneering attitude suits a more singular outlier vision rather than being part of any hip gang or fashionable style.

Most of the artists in Look at me looking at you are also in this spirit, revelling in aspects of the hand-made, the hand-me-down, the urgent and the everyday. They come from a diverse range of backgrounds and ages, are at different points in their careers, and create a variety of touchpoints, from celebrating the banality of the everyday through to pop music, family relationships and the nature of identity.